The short film LEVIATHAN, set in 1888, follows the autopsy of a body believed to be a victim of Jack the Ripper. Directed by James Mansell and based on writer Bradley Harper’s novel A Knife in the Fog, the film places audiences at the heart of a tense examination led by Professor Joseph Bell (Matthew Lloyd Davies), Arthur Conan Doyle (Rafe Bird), and fiery journalist Margaret Harkness (Lauren Cornelius). This reimagining of the Whitechapel murders in London’s East End captures the trio’s struggle under mounting public pressure as they race to uncover the cause of death and the possible identity of the killer. Harkness challenges her male counterparts to confront their own biases, urging them to see beyond the era’s moral judgments and recognize that the victims life circumstances, poverty, addiction, and social stigma, do not define their worth or determine their fate.
Mansell sets the stage within the confined space of a medical examiner’s room, where they perform an autopsy in search of clues about the assailant. The entire film unfolds in this single location, creating an atmosphere of claustrophobic tension and eerie intimacy. While audiences gain insight into the previous victim, the focus remains on the investigators themselves, offering a rare perspective on those piecing together the mystery rather than the horrific crime itself. The taut dialogue, framed by beautifully designed opening and closing titles featuring evocative illustrations, deepens the sense of ominous intrigue surrounding the enduring mystery of the Ripper crimes. Mansell’s direction evokes the precision and presence of a stage play, lending a theatrical quality that complements the film’s literary source material. The film takes a fresh approach to historical fiction, placing real-life figures in a fictionalized encounter framed by genuine historical events. Cinematographer Ed Curtis heightens the effect through shadow-drenched visuals, muted tones, and flickering light, immersing viewers in the somber, suspenseful world of the investigation.
Cornelius delivers an eloquent and commanding performance as investigative journalist Margaret Harkness, offering a Victorian era glimpse into the darkness surrounding one of history’s most infamous criminal cases. Through her portrayal, Harkness becomes the moral conscience of the investigation, empathetic yet unyielding. She imagines the emotional turmoil of the woman on the table and challenges her male counterparts’ narrow assumptions, condemning their tendency to view the victims’ professions as justification for their brutal fates. Cornelius brings both intellect and compassion to the role, grounding the film’s tension in a deeply human perspective.
Bird offers a thoughtful performance as Arthur Conan Doyle, portraying a young physician torn between his medical training and the probing challenges of Harkness. He defers to Bell’s authority during the examination but gradually reveals a deeper curiosity and sensitivity beneath his restraint. Davies delivers an equally compelling performance as Professor Joseph Bell, helping his former student with the autopsy. His character, inspiration of the famed Sherlock Holmes, views Harkness with suspicion, questioning her motives even as she exposes his own preconceptions and biases toward the investigation. Together, their dynamic creates a fascinating intellectual and moral tension at the heart of the film.
The film’s production design (Jenny Dee) establishes a dark, immersive atmosphere that pulls the audience into the authenticity of the Victorian era, enhanced by the detailed period wardrobe (Kathryn Poon). The medical examiner’s table is appropriately unsettling, yet the film never relies on gore or gratuitous imagery. Instead, it sustains remarkable tension throughout its brief runtime, propelled by the lustrous award-winning original score (Mat Hamilton), which perfectly evokes the haunting elegance of the era.
LEVIATHAN offers a chilling glimpse into one of history’s most infamous criminal investigations. The film excels at conjuring mood and emotional darkness, though it leaves us yearning for more, feeling as though we’ve witnessed only a middle chapter of a much larger story. Audiences will be intrigued to dive into the full novel, that focuses deeper on the character of Harkness. That lingering desire to see beyond the frame is a testament to the strength of the adaptation. Mansell’s creative vision and artistry, bringing a portion of Harper’s novel to life, rouses us with death.
